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Archilochus and Lycambes

Classical Quarterly 36 (01):60- (1986)

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Where was Iambic Poetry Performed? Some Evidence from the Fourth Century B.C.Krystyna Bartol - 1992 - Classical Quarterly 42 (1):65-71.details Aristotle'sPolitics1336b20–2 (cited below) proves that in the fourth centuryb.c. there was more than one type of occasion for the presentation of iambic poetry. No surviving ancient testimony describes directly the circumstances of performance of literary iambus in the archaic period. Heraclitus' text which comes from the turn of the sixth and fifth centuriesb.c. suggests that Archilochus' poems, like Homer's, were presented during poetic competitions, but it does not follow that Heraclitus had in mind iambic compositions of the Parian poet. Download Export citation Bookmark 2 citations
Archilochus 222W and 39W: Allusion and Reception, Hesiod and Catullus.Shane Hawkins - 2019 - Philologus: Zeitschrift für Antike Literatur Und Ihre Rezeption 163 (1):16-46.details This article is a contribution to our understanding of how Archilochean poetics may be situated in the longer poetic tradition. In examining two fragments that have received little attention, I hope to illustrate how Archilochus’ poetry both engaged with its predecessors and was in turn engaged by its successors. Fragment 222W employs a theme that was perhaps already conventional for Hesiod, in which the incompatibility of the sexes is implicated in the cycle of seasons, an idea that also seems relevant (...) Download Export citation Bookmark
Biography, fiction, and the Archilochean "ainos".Elizabeth Irwin - 1998 - Journal of Hellenic Studies 118:177-183.details Download Export citation Bookmark 6 citations
“I Let Go My Force Just Touching Her Hair”: Male Sexuality in Athenian Vase-Paintings of Silens and Iambic Poetry.G. Hedreen - 2006 - Classical Antiquity 25 (2):277-325.details In Archaic Athenian vase-painting, silens are often sexually aroused, but only sporadically satisfy their desires in a manner acceptable to most Athenian men. François Lissarrague persuasively argued that the sexuality of silens in vase-painting was probably laughable rather than awe-inspiring. What sort of laughter did the vase-paintings elicit? Was it the scornful laughter of a person who felt nothing in common with silens, or the laughter of one made to see something of himself in their behavior? For three reasons, I (...) Download Export citation Bookmark 2 citations
Out-Foxing the Wolf-Walker: Lycambes as Performative Rival to Archilochus.Tom Hawkins - 2008 - Classical Antiquity 27 (1):93-114.details Lycambes, the most famous of Archilochus' whipping boys, is everywhere upstaged in the surviving iambic texts and testimonia. This paper seeks to reconstruct something of Lycambes' voice and its role in the Archilochean tradition. I begin with a reconsideration of Archilochus' “first epode” and argue that Lycambes is styled as an older public rival to Archilochus who questions the role of the poet's iambos. The preliminary results of this section are then strengthened by drawing upon two relevant episodes in the (...) Download Export citation Bookmark 2 citations

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